Acknowledgments |
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In praise of not knowing: an introduction |
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1 | (2) |
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1 What we can know about the origins of theater, which is always less than we would like, and yet not grounds for despair |
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3 | (3) |
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2 How great works work against our desire to know, and why the question should always exceed the answer |
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6 | (2) |
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3 The problem with thinking we know a thing or two: or the rise of the answer at the expense of the question |
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8 | (2) |
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4 The special providence of certain questions: or the necessity for the re-enchantment of theater |
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10 | (3) |
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PART I The invention of the outside: on the nature and functions of theater |
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13 | (46) |
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5 Borges and theater: what the great Argentine poet can tell us about the secret life of theater |
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15 | (2) |
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6 Beneath Averroes' window: Borges' first clue; the family resemblance of play, ritual, and theater |
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17 | (9) |
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7 The story of Abu-al-Hasan and the house of painted wood: Of Borges' second clue, the ascension of the ocular |
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26 | (5) |
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8 From the mimetic to the meta-theatric: the four modalities of theatrical expression |
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31 | (13) |
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9 The Companions of the Cave: Borges' third clue, on the necessity of thresholds |
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44 | (7) |
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10 Anatomy of failure: why the machine of theater breaks down |
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51 | (4) |
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11 Recapitulation #1: or toward the what of theater |
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55 | (4) |
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PART II Nine and a half tableaux: theater's ek-static ability to bring what is hidden into view |
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59 | (68) |
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12 Welcome to the Museum of Ek-stasis: or when things "stand out" in theater |
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61 | (3) |
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13 Exhibit One: Agamemnon redux: the optics of the tragic |
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64 | (7) |
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14 Exhibit Two: Abraham and Isaac: difference, variance, and making time manifest |
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71 | (8) |
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15 Exhibit Three: Romeo and Juliet: love and other spatial relations |
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79 | (6) |
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16 Exhibit Four: The Winter's Tale: seeing being |
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85 | (7) |
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17 Exhibit Five: Tartuffe: the not-so-secret life of inanimate objects |
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92 | (5) |
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18 Exhibit Six: Faust: the persistence of allegory |
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97 | (5) |
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19 Exhibit Seven: Woyzeck: reading other minds, or the discovery of subtext |
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102 | (5) |
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20 Exhibit Eight: The Three Sisters: the invention of the pause and intimations of the void |
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107 | (7) |
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21 Exhibit Nine: Galileo: "making strange": the fine art of seeing otherwise |
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114 | (4) |
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22 Exhibit under construction: Angels in America: seeing double |
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118 | (3) |
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23 Recapitulation #2: or toward the how of theater |
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121 | (6) |
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PART III From Sophocles' urn to Wittgenstein's box: theater and the engendering of fellow-feeling throughout the ages |
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127 | (70) |
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24 Brief introduction: theater's telos: the engendering of fellow-feeling |
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129 | (5) |
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134 | (28) |
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162 | (9) |
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171 | (15) |
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186 | (4) |
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29 Recapitulation #3: or toward the why of theater |
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190 | (4) |
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30 Final thoughts on fellow-feeling and the meaning of theater |
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194 | (3) |
Index |
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197 | |